*GASP*

I'm back.

call me fucked.

to come...

Camden Rambles

C'mon, it's just that good

Back

Clogged

Ahoj.

Played two DJ gigs this week here in Prague (BIG MOUTH)

So naturally, I enduce paranoia by watching a film about a DJ gone deaf:

IT'S ALL GONE, PETE TONG
{Michael Dowse, 2005}

(special treat: my father is the Afrika Bambaata of Skype)

Ain't it wonderful?

Juke Joint Jezebel

MORTAL KOMBAT
{Paul W. Scott Anderson, 1995}

just to bring the 90's havoc full circle...

(plus it has that Halcyon+On+On song that's also in Hackers)

Get over here.

(Note: My favorite part of this clip is how casually Sub-Zero saunters down the stairs into the fight...like it's getting the mail or something. Hysterical)

HOLGER CZUKAY

For DC Tung

Collage College Collage

MAYHEN
{Abigail Child, 1989}

(IF VIDEO DOES NOT APPEAR, FOLLOW THIS LINK)

My cousin, Aeros, graduated from the Boston Museum School some years ago. She took a good number of film classes while she was studying various mediums (primarily installation and horticultural art) while she was seeing a film student (and now accomplished artist and professor) Cliff Evans. Many of these fantastic classes were taught by filmmaker Abigail Child, who's work I fell in love with while interning at the Filmmaker's Co-Operative in NYC. Aeros was kind enough to pass along some of the course reader's she had kept from her classes with Abigail, right before I left for Prague.

These readers are comprised of seminal texts from situationists, futurists, sound-theoreticians, marginalized feminists, towering film theorists and post-modern critics, creating a sort of penultimate discourse that is of course fucking painfully tautological, seemingly incongruent, wildly erratic in style, and only culminates in that sort of "french argument" system wherein one must tarry a wide loop before finally reaching an understandable thesis.

But, take my word for it, the loop is undoubtedly well worth it. Jeepers, I would have loved to have taken these classes myself. The same style of argument she uses to assemble her syllabi is what, in my opinion, makes her filmmaking such a brilliant example of cinema as disputation. The complexity of her sprawling structural montage of found-footage is as rich as each of these readers I was lucky to get from my lovely cousin to take with me to Prague...

Bloodshot CPUs + Leopard Cutoffs + Acid Burn

TONS of throwbacks the past couple of days.
The best logical selection following an early punk cinema revival that involves Suburbia and Ladies & Gentleman has to be a fresh, stimulating dose of mid-90's computer-punk magic.

So much offered in these:

❖ Patrick Stewart with a perfect moustache.

❖ The internet painted as an explorable, massive, 8-Bit glowing city within an endless digital vacuum.

❖ Early commentary on the dangers of electronically controlled markets and infrastructures
(blogging this...ironic?)

❖ Gameboy-shell laptops thicker than Little Caesar boxes

❖ Macintosh as a company. Apple as a company. Separate.

❖ Vincent Kartheiser cast playing the role of a savant (antithetical)

❖ Matthew Lilliard with eyeliner. (not really antithetical)

❖ Jonny Lee Miller attempting smeared yankee colloquialisms.

❖ Angelina Jolie in the period of her life where she still ate food.

❖ ...and, the biggest prize, triple XL tee-shirts with Audio company logos and every variation of fishnet ever dreamt up dominating the youth's low-fashion with a fierce tenacity.


Kinda brings you back don't it?

HACKERS
{Iain Softley, 1995}

MASTERMINDS
{Roger Christian, 1997}